The end is a fascinating, daring and ambitious work, but a missed masterpiece

In a cycle and recycling of the infinite routine of the Marmot (even more annoyed by length – two and a half hours – of the film), this group of survivors in a dimension exists between the unrealistic and the surrealistic, apparently not struck by the feelings of guilt, because they have left the world of the country). The balance is cracked by the girl’s arrival (Moses Ingram) who succeeded in sneaking in the caves in search of a refuge and brings him the disturbing power of his purely presence. A dynamic time and disturbing stems of the collision between aristocracy and proletariat, between illusion and reality, between lies and truths. The oppressed feelings are outsourced by songs by Hollywood -musicals of the 1950s anything but memorable signed by Joshua Schmidt and Marius de Vries (who has been to his Red mill), annoying and discordant melodies that harm the hearing while the gaze is flattering by the aesthetic elegance of scenography and photography. The girl’s arrival causes ambivalent and subtle reactions, but they are microscopic Tellurian shocks A drama that never explodes: The only way to survive in those fragile and alienated microcosm is due to imperceptible settlements.

The end It is politically warm: It focuses more on the analysis of how people survive and complicit in a catastrophe, Instead of the dynamics that are released by the social voltage between high and low class that breaks down on the protagonists, suffering from systematic cognitive dissonance. Oppenheimer is lost in the beautifully decorated maze of class insulation, instead of deepening the political discussion and the ecological discussion, in which a compassionate look is assumed that does not seem insufficient, canceled, not very proportionate to the ambition of his narrative debut with an opera deetence and the theatrical scene. Monotonous e forbidden (The songs are too mediocre to be of lighting for the audience of a film that undergoes trivial and repeated daily life for 150 minutes), that Van Oppenheimer is a fascinating and brilliant project, but It comes more from the parts of the magniloquent melodrama Then the masterpiece. Maybe we were wrong and will we become a cult? We’ll see.